Number of items: 19.
Designing Meaningful & Lasting User Experiences
In: Moran, A. and O'Brien, S., eds.
Love Objects: Emotion, Design & Material Culture.
Bloomsbury Academic, London, pp. 137-148.
Prospect, seed and activate: advancing design for sustainability in fashion
In: Fletcher, K. and Tham, M., eds.
Routledge Handbook of Sustainability and Fashion.
Routledge International Handbooks
Routledge, Oxford, UK, pp. 74-81.
Meaningful Stuff: Towards longer lasting products
In: Karana, E., Pedgley, O. and Rognoli, V., eds.
Materials Experience: fundamentals of materials and design.
Butterworth-Heinemann, Oxford, pp. 135-144.
Emotionally sustainable design
In: Walker, S. and Giard, J., eds.
The handbook of design for sustainability.
Bloomsbury Academic, London, UK, pp. 363-374.
Subject Object Relationships and Emotionally Durable Design
In: Cooper, Tim, ed.
Longer Lasting Solutions: Advancing Sustainable Development Through Increased Product Durability.
Ashgate (Gower), London, UK.
Design for (emotional) durability
Design Issues, 25 (4).
In: Predan, B., Krecic, P. and Subic, S., eds.
Sustainable Alternatives in Design.
Chapman, Jonathan and Gant, Nicholas
100% Sustainable? Research gathering exhibition, seminar and masterclass (2006, 2007 and 2008)
Reed Expo, London, UK.
Emotionally Durable Design: Sustaining relationships between users
and domestic electronic products
Doctoral thesis, University of Brighton.
House of Lords evidence paper: waste reduction
House of Lords, London, UK.
Sustaining Relationships Between People and Things
In: Desmet, P., van Erp, J. and Karlsonn, M., eds.
Design & Emotion Moves.
Cambridge Scholars Publishing, Newcastle upon Tyne, UK, pp. 47-65.
Chapman, Jonathan and Gant, Nicholas
New Design (Issue 54).
Chapman, Jonathan and Gant, Nicholas
Designers, Visionaries + Other Stories: A Collection of Sustainable Design Essays
Earthscan, London, UK.
Chapman, Jonathan and Gant, Nicholas
Designers, Visionaries and Other Stories: A Collection of Sustainable Design Essays
Desire, Disappointment and Domestic Waste
In: Burton, Millie, ed.
Pavilion commissions programme 2007.
Pavilion, Leeds, pp. 4-11.
Subject object relationships and emotionally durable design
In: Cooper, T, ed.
Longer Lasting Solutions.
Emotional Attachment: Developing Lasting Relationships with our Belongings
Waste Management World.
Modern Life is Rubbish
Blueprint (No 241).
Emotionally Durable Design: Objects, Experiences and Empathy
Earthscan, London, UK.
Advisory boards and committees
- Puma: Member of Sustainability Advisory Board (2013 – present)
- D&AD: Member of the White Pencil Advisory Group for (2013 – present)
- Design Museum: Member of the Advisory Group for sustainable design (2013 – present)
- University of Brighton: Member of the 'Sustainable Development Policy Management Group' (2009 – present)
- External Examiner, University College of the Arts (UCA) MA Ceramics, MA Glass, MA Jewellery, MA Metalwork, MA Product Design and MA Textiles (2014 – present)
- External Examiner, Central Saint Martins – BA (Hons) Arts, Design and Environment (October, 2008–2012)
- Jonathan was the ‘external member’ of the validation panel at Buckingham Chilterns University, validating their proposed ‘BSc (Hons) Sustainable Design’ program (April 20, 2006)
Grants and awards
- Excellence Award (University of Brighton, 2011) Dr Chapman received an 'Excellence Award' from the University of Brighton, under the category of 'Most Inspirational Teacher'.
- University of Brighton (sabbatical): in February 2009, Dr Chapman was awarded a £20,000 research sabbatical, to develop a touring exhibition of university-wide research in sustainable development (process and product), a series of university-wide networking events, seminars and workshops, and an international publication, which collectively seek to catalyze and develop greater engagement with the issue.
- '100% Design': In 2008, Jonathan Chapman (and Nick Gant) was awarded stand space to the value of £39,200 for the 2008 London Design Festival. A further £15,000 was also awarded to fund the design and build of this exhibit, which features a 4-day lecture, workshop and seminar series, presenting new ‘models of sustainable design’.
- 'Knowledge Exchange': in 2008, Jonathan Chapman (and Nick Gant) was awarded £5000 by the Knowledge Exchange to design and build an information-gathering research exhibit as a central feature of the 2008 London Design Festival.
- '100% Design'. Jonathan Chapman (and Nick Gant) was awarded stand space to the value of £28,200 for the 2007 London Design Festival. A further £15,000 was also awarded to fund the design and build of this exhibit, which features a series of 10 creative workshop events that aim to explore and define 101 approaches to sustainable design
- 'Knowledge Exchange'. Chapman (and Gant) was awarded £3000 by the Knowledge Exchange to design and build an information-gathering research exhibit as a central feature of the 2007 London Design Festival
- 'CETLC'. Chapman (and Gant) was awarded £5000 to undertake a creative workshop that developed real product solutions, to emergent product life span issues. This workshop constituted a significant aspect of Jonathan’s practice-based PhD fieldwork.
- '100% Design'. Chapman (and Gant) was awarded stand space to the value of £11,750 at the 2006 London Design Festival. This exhibit constituted a significant aspect of Jonathan’s practice-based PhD fieldwork.
- 'Knowledge Exchange'. Chapman (and Gant) was awarded £3000 by the Knowledge Exchange to design and build an information-gathering research exhibit as a central feature of the 2006 London Design Festival.
- Chapman was awarded an £8,250.00 'Wingate Scholarship' from the Harold Hyam Wingate Foundation (UK), to assist in the research and writing of an illustrated monograph addressing product life and the environment.
Citations and reviews
"Chapman’s research has advanced our thinking on sustainable design and made a considerable contribution to our quest for enhanced resource efficiency, and increased product and brand value. His lectures, master-classes, workshops and training films have helped to move our sustainability story forward by shaping the attitude and approach of our designers and management teams."
(Dr. Reiner Hengstmann, PUMA’s Global Director, 15 November 2013)
In the developed world, we live in a throw-away society with a global production system that’s riddled with inefficiency and waste. But what if a product developed as it aged, improved over time? Would we throw it away so readily then? According to Professor Chapman of the University of Brighton, UK: “The idea is to use product and brand as talking points; the product is a conversation piece that creates a lasting connection between the business and its customers and, ultimately, increase loyalty to the brand and drives sales.” "The theory of emotionally durable design has played a key role in helping designers and businesses address problems of e-waste, and product obsolescence, enabling us to look more at the challenge of weaning people off their desire for the new all the time."
(Flemich Webb, 'Designing for a Sustainable Future', Making It, United Nations Industrial Development Organization, 30th August, 2013)
(Emily Nicoll, General Manager: Sustainability, Sony Europe, 15 November 2013)
In 2005 a book was published called Emotionally Durable Design: Objects, Experiences and Empathy. It was a call to arms for professionals, students and academic creatives to think about designing things we would cherish and keep, rather than throw away. "It's actually very easy to design and manufacture a toaster that will last 20 years; that can be done. What's not so easy is to design and manufacture a toaster that someone will want to keep for 20 years, because as people ... we haven't been trained to do that," he told the Today programme's Evan Davis. Professor Chapman stressed the importance to "de-materialise and to use less, whilst also considering ways in which we build greater resilience into the relationships between people and their possessions".
(Evan Davis, 'What is Emotionally Durable Design?', The Today Programme, BBC Radio 4, 9th February, 2013)
"Say you have a product that lasts on average 12 months," says Jonathan Chapman, Professor of Sustainable Design at the University of Brighton, who developed the emotionally durable design concept. "If you can extend that use-career to 18 months through emotionally durable design, you have bought about a 50% reduction in waste consumption in the majority of materials, energy and systems associated with that product." Chapman advises a number of global businesses on how they can make their products and services more sustainable – environmentally, socially and financially.
(Flemich Webb, 'Time for new business models based on durable design?', Guardian Sustainable Business, 18th January, 2013)
The phrase 'Emotionally Durable Design', borrowed from Professor Jonathan Chapman, helped to explain the irrational associations carried by materials, as in the example of aeroplane construction after 1920, when laminated timber was superseded by metal more as a result of ideology than necessity. There was a contemporary significance to this, because emotional durability can achieve sustainability when people want to hang on to things rather than replace them.
(Tanya Harrod, 'Visionary Rather than Practical: Sustainability and Material Efficiency in Art, Craft and Design', The Artworkers' Guild, proceedings: No. 27, January, 2013 )
Emotionally Durable Design is an articulate case for the need for objects and buildings with strong narratives that can help forge bonds with users through their inherent storytelling qualities.
(Zoë Ryan, Curator of Architecture and Design and Chair of the Department of Architecture and Design at the Art Institute of Chicago, 2012)
The environment at the University of Brighton seems like one of ideas; well, this is what Puma’s innovation Group is about; its about bringing new ideas to the market, through new and novel thinking to change the way that Puma’s doing business, through the lens of sustainability. Being here at the University of Brighton will be a phenomenal partnership, in terms of sharing new ideas, and moving the never-ending effort of sustainability forward. I think the idea of innovating and being able to work with your hands is something that doesn’t quite exist in a lot of the corporate environments, and I have been speaking with Dr Chapman about trying to create that type of environment within our Innovation Team – whether its in our Boston facility, or within our Headquarters in Germany.
(Louis Joseph: Global Director of Strategy & Innovation, Puma, 2011)
It’s part of Puma’s DNA to constantly evolve and do new things, and try different things, so that’s why this is such a perfect marriage with Dr Chapman and the University of Brighton.
(Tami Kirlis: Marketing Director, Puma, 2011)
Among the student community, consciousness of ecological issues is becoming increasingly prominent, says Dr Jonathan Chapman, course leader on Brighton University's MA in Sustainable Design. Indeed, product design used to be primarily concerned with ergonomics, performance and styling. Today, it's all those things, but with sustainability now a key ingredient, considered alongside those more established design considerations.
(Sarah Lonsdale, ‘Sustainable design ideas from young designers’, The Daily Telegraph, 12th July 2011, UK)
The lecture Dr Chapman gave to our design teams at PUMA was absolutely spot-on; exactly what was needed to get them engaged with sustainable design, and motivated to become part of the solution.
(Bernd Kellar, Global Director of Design, PUMA, Herzogenaurach, Germany, 2010)
Designer and teacher Jonathan Chapman also looks to the future in, Emotionally Durable Design: Objects, Experiences & Empathy (Earthscan, 2005), a call for professionals and students alike to prioritise the relationships between design and its users, as a way of developing more sustainable attitudes to, and in, design things.
(Clark, H. & Brody, D., Design Studies: A Reader, Berg, New York, US, 2009, p531)
Drawing on the work of authors such as Thackara and Chapman, it is demonstrated that diversity in taste can be accommodated and welcomed within this relatively new and developing area of [sustainable] design ... Chapman has suggested that users should be ‘designed into narratives as co-producers and not simply as inert, passive witnesses’ (2005). He speaks of the need for design to overcome its preoccupation with what he terms ‘box-fresh’ experiences and product novelty in order to develop a material culture where there is a continuous narrative of progressive change and meaningful, mutual growth.
(Professor Stuart Walker, 'After Taste – The Power and Prejudice of Product Appearance', The Design Journal, vol 12, Issue 1, Berg, 2009)
Most of us accept the need for a more sustainable way to live, by reducing carbon emissions, developing renewable technology and increasing energy efficiency. But are these efforts to save the planet enough? We asked some movers and shakers for their recommendations. Here is what they said: "Disconnect yourself from the cyclical system of 'desire and disappointment' that fosters unhappiness and frustration with the products you already have, and creates tension between 'actual' and 'desired' states of being that, over time, manifest as a continual dissatisfaction with the now (Dr Chapman, University of Brighton, UK).
('How to do your bit for the planet', New Scientist, 15th October, 2008)
Somewhere during the last 100 years, we learned to find refuge outside the species, in the silent embrace of manufactured objects,” Jonathan Chapman, a young product designer and theorist at the University of Brighton, writes in his book Emotionally Durable Design. “The mobile phone occupies a kind of glossy, scratch-free world ... as soon you purchase it, you can only watch it migrating further away from what it is you want — a glossy, scratch-free object.” You might leave the plastic film over the display for a few days, just so you can take it off later and “give yourself a second honeymoon with the phone,” he says. But ultimately everything that first attracted you to it only deteriorates. You start looking at it differently. “It’s made of some kind of sparkle-finished polymer and it’s got some decent curves on it, but so what? The intimacy comes more from the fact that, within that hand-held piece of plastic, exists your whole world” — your friends’ phone numbers, your digital pictures, your music — and that stuff can be easily transferred to a new one. So you “fall out of love” with the phone, Chapman says. There is no heaven for cellphones. Wherever they go, it seems that something, somewhere, to some extent always ends up being damaged or depleted. The only heaven I came across was what Chapman described. It is an image in our heads — not of a place where we can send a used phone but one where we imagine each device when it’s brand-new, right before we first get our hands on it. That illusion of perfection, no matter how many times we see it spoiled, will always lure us into buying the next new phone and sending the last one careering on its way.
(Jon Mooallem, 'The Afterlife of Cellphones', The New York Times, 13 January, 2008)
In his book, Emotionally Durable Design, Jonathan Chapman explains appropriateness as a function of a product's emotional presence, evolution and growth. He says that it is not enough for a product to provoke an emotional response within the user on one occasion; it must do this repeatedly. In effect, a relationship with an object must be developed over an extended period of time.
(Fletcher, K., Sustainable Fashion & Textiles: Design Journeys, Earthscan, London, UK, p168)
When you look at the scientific basis and reduce the energy footprint during production but you also look at the psychological and emotional factors during use, says Chapman. When you start to integrate like that, that's when you start to achieve sustainable design.
(Charlie Devereux, ‘Disposing of our throwaway culture’, CNN International, October 21, 2007)
Sustainable design has to pollute and infect its way into the mainstream, says Jonathan Chapman, [and] for it to take on this viral quality, it needs to open up and be unpacked.
(Pamela Buxton, ‘Green Team’, Design Week, Vol 22, No 37, 13 September, 2007, pp 13-15)
We don't throw things away because they are broken - it's usually because we have fallen out of love with them', says Jonathan Chapman, a senior lecturer in design at the University of Brighton, who is trying to promote what he calls 'emotionally durable' design as a way of reducing the generation of toxic waste. Chapman believes that, without a big shift in our attitude to the things we live with, the UK will soon catch up. 'At the beginning of a relationship with a product, we consume it rampantly', he says. 'Then consumption becomes routine, and then we stop thinking about it altogether and start noticing newer models. Often the relationship ends because the product is not doing something we want it to do, or it has started doing something we didn't think it would do, but not because it doesn't work. Unless we return to more sustainable relationships with these possessions we are going to have a really huge problem'.
(Lois Rogers, 'Consumer Adultery - the new British vice', New Statesman, 05 February, 2007)
Chapman, a senior lecturer from the University of Brighton, UK, is one of a new breed of sustainable designers. Like many of us, they are concerned about the huge waste associated with our consumer culture, and the damage this does to the environment... to understand why we have become so profligate, Chapman believes we should look to the underlying motivations of consumers... following Chapman's notion of emotionally durable design, there is likely to be a move away from mass-production and towards tailor-made articles and products designed and manufactured with greater craftsmanship.
(Ed Douglas, 'Designed to Last', New Scientist, January 6, 2007, pp31-35)
In a BBC Radio 4 show entitled 'Possessions and Limitations' a reading from Jonathan Chapman's book, Emotionally Durable Design was made; asserting Chapman's proposition that 'the material you possess signifies the destiny you chase'. This 30-minute feature argued that 'possessions are our limitations', and also included extracts and readings from other works by Oscar Wilde, Mahatma Gandhi and Persian poet Rumi. 'In his book Emotionally Durable Design, Jonathan Chapman explores the possibility that human interaction can be reduced to two basic strands; having and being'.
(Tom Robinson, 'Something Understood: Possessions and Limitations', BBC Radio 4, January 28, 2007)
Many cherished products survive in kitchens, living rooms and wardrobes even when they are long past their best. This is quite a challenge for designers, as Jonathan Chapman stresses in his book Emotionally Durable Design, only when the relationship between user and product is as durable as the object itself can the wheelie bin be avoided.
(Will Anderson, 'The Green House', The Independent, July 26, 2006)
The social context of ecological design has been clearly positioned by Papanek (1971) and there is an increasing engagement with the cultural issues of ecological design, such as the recent work by van Hinte (2004) and Chapman (2005).
(Mike Anusas, Engage, Design & Emotion Society, November 2006)
If you are not making money, its just ideas, argued designer and lecturer Jonathan Chapman, convincingly stating that sustainable design must always answer a business case.
('Road Trip', New Design, Issue 39, 2006, pp22-23)
Jonathan Chapman and Nick Gant have embraced the debate and stoked the fire by asking what is 100% Sustainable? Their project aims to deepen and enhance understanding of sustainable design, which they believe has often been unhelpfully fragmented and disparate. We were impressed by how the IF: Laboratory created a stand-out stand with a strong interactive element in the name of action research.
(Leonora Oppenheim, Treehugger, October 13, 2006)